Spring 2021 - Deutscher Kunstverlag
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Spring 2021
Dear friends of the Deutscher Kunstverlag, Dear readers, Did you know that the Deutscher Kunstver- lag celebrates its 100th anniversary in 2021? Since 1921, we have been publishing books that take our readers into the diverse world of art and architecture. Join us in our anniversary year to the reopened New National Gallery in Berlin, the Mozart Festival in Würzburg, or the collection of German paintings in Frankfurt’s Städel Museum. Learn more about art in architecture, international modernism in the GDR, or partisan photography in former Yugoslavia. We would also like to invite you to celebrate our anniversary together with us. You can find out everything about the planned lectures, competitions and other anniversary events on our new website. Dr. Pipa Neumann Dr. Katja Richter Editorial Director Senior Acquisitions Editor Arts
100
Years
Everything you need to know
about the 2021 anniversary!
Digital
Discover our videos and ours Podcast
on current art exhibitions!
We speak to curators about their current art exhibitions
once a month. We want to know what drives them,
what approaches and opinions they have and why you
should see the exhibition. (e.g. Gemäldegalerie Berlin,
Kunsthalle Mannheim, LWL-Musuem für Kunst und
Kultur, Münster) The exhibition catalogs all published
by Deutscher Kunstverlag.
Ü
Kunst
Ü
Museum
Ü
Konversation
PODCAST
Podcast Video
OUR PARTNERS Bayerische Staatsgemäldesammlungen, Pinakotheken, Munich Bayerisches Landesamt für Denkmalpflege, Munich Bayerisches Nationalmuseum, Munich Berlinische Galerie, Berlin Bundesamt für Bauwesen und Raumordnung (BBR) Dehio Vereinigung e.V., Wiesbaden Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg Grisebach GmbH, Berlin Hans Purrmann Stiftung, Munich Institut für Architekturtheorie und Baugeschichte, Leopold-Franzens-Universität Innsbruck Institut für Kunstgeschichte, Bauforschung und Denkmalpflege, Technische Universität, Vienna Klassik Stiftung Weimar Kulturhistorisches Museum Magdeburg Kunsthalle Mannheim Kunsthistorisches Institut der Universität Bonn Max-Planck-Institut – Kunsthistorisches Institut in Florenz, Florence Kunstmuseum Basel Kunstmuseum Bonn Kunstmuseum Kloster Unser Lieben Frauen Magdeburg Kunstmuseum Stuttgart Kunstsammlungen Chemnitz Kunstsammlungen der Veste Coburg Kunstsammlungen und Museen Augsburg Landesstelle für die nichtstaatlichen Museen in Bayern, Munich Leibniz-Institut für Geschichte und Kultur des östlichen Europa (GWZO), Leipzig Lindenau-Museum Altenburg Institut für Kunstgeschichte – Ludwig-Maximilians-Universität, Munich LVR-LandesMuseum Bonn LWL-Museum für Kunst und Kultur, Münster Martin von Wagner Museum der Universität Würzburg Mozartfest Würzburg Museum für Gegenwartskunst Siegen Museum Pfalzgalerie Kaiserslautern Museum Villa Stuck, Munich Museum Wiesbaden Rosa-Luxemburg-Stiftung Berlin Staatliche Akademie der Bildenden Künste Stuttgart Staatliche Graphische Sammlung, Munich Staatliche Kunsthalle Karlsruhe Staatliche Kunstsammlungen Dresden Staatliche Museen zu Berlin – Stiftung Preußischer Kulturbesitz Staatliche Schlösser, Gärten und Kunstsammlungen Mecklenburg-Vorpommern, Staatliches Museum Schwerin Staatsgalerie Stuttgart Stadtmuseum Berlin Städel Museum, Frankfurt am Main Stiftung Museum Kunstpalast, Düsseldorf Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Potsdam Stiftung Ada und Emil Nolde, Seebüll tim – Staatliches Textil- und Industriemuseum Augsburg Tiroler Landesmuseum, Innsbruck Vereinigung der Landesdenkmalpfleger, Wiesbaden Zentralinstitut für Kunstgeschichte, Munich
CONTENTS ART Neue Nationalgalerie 7 IMAGINE MOZART | MOZART BILDER 9 Deutsche Gemälde im Städel Museum 1550–1725 11 »Der Arbeit die Schönheit geben« 13 Alexej von Jawlensky 15 James Ensor 17 Kunst am Bau in der DDR 18 70 Years of Art in Architecture in Germany 19 Neue Pinakothek. Katalog der Skulpturen – Volume I 21 Neue Pinakothek. Katalog der Skulpturen – Volume II 21 How Art Works 22 Exquisit 23 Wie die Bilder ins Museum kamen 24 Lehrmedien der Kunstgeschichte 24 Werner Schmalenbach und die Stiftung Kunstsammlung Nordrhein-Westfalen 25 The Multiple Modernity 27 Valentin Serov 27 Verschwiegene Kunst 28 Rotes Licht 29 Detlef Waschkau 30 Zeichenroman 31 Gegenbilder 33 Oltre il colore 34 Vorhangfall und poetische Ekstase 34 Schön behaglich warm 35 Halsringe 35 BACKLIST Selected titles 37
DEUTSCHER KUNSTVERLAG
6
The Neue Nationalgalerie in the year of the opening 1968
Neue
Nationalgalerie
For the Nationalgalerie, Staatliche
Museen zu Berlin, Joachim Jäger,
Constanze von Marlin (Eds.)
Neue Nationalgalerie
Pages 320
Ills. 250
Format 28.8 × 24.0 cm
HC 978-3-422-98652-7 EN € 48.00
978-3-422-98651-0 DE $ 55.99
£ 43.50
ENGLISH AND GERMAN EDITION
JULY 2021
DEUTSCHER KUNSTVERLAG
THE cult book on the architecture of the
Neue Nationalgalerie
Internationally renowned authors shed light
on their view of the museum
The photographer Simon Menges presents
the noble result of the restoration by
Column Neue Nationalgalerie
David Chipperfield Architects
Will be published on the occasion of the
reopening of the Neue Nationalgalerie in Berlin
7
The Neue Nationalgalerie, which was with new glory in 2021. With numer- Essays by Barry Bergdoll,
erected in 1965–68, is the only build- ous specialist texts and large-format David Chipperfield, Beatriz Colomina,
ing by the architect Ludwig Mies van photographs, the book focuses on the Fritz Neumeyer, Wolf Tegethoff,
der Rohe in Germany from after the architecture of the museum in three Claire Zimmerman and others
Second World War. With its steel roof thematic groups: the historical build-
En
over the glass-walled exhibition hall ing, the fundamental restoration, and
and its reduced design vocabulary, it is the renovated building. Detailed and
regarded as an icon of modernism and large-format photographs heighten
as the legacy of a visionary master awareness of the unique architecture,
builder. Following the restoration by which Mies van der Rohe designed
the firm David Chipperfield Architects, down to the smallest detail.
Ger
the Neue Nationalgalerie is reopening
Hall Neue Nationalgalerie
DEUTSCHER KUNSTVERLAG
8
Max Slevogt, The Champagne Song, 1902, oil on canvas, 215 × 160 cm, Staatsgalerie Stuttgart, Inv.-Nr. 1123
Mozart Festival Würzburg (Ed.)
IMAGINE MOZART
MOZART BILDER
Pages 264
Ills. 150 color
Format 21.0 × 28.0 cm
HC 978-3-422-98641-1 € 29.00
$ 33.99
£ 26.50
GERMAN
MAY 2021
DEUTSCHER KUNSTVERLAG
Jacques-Émile Blanche, Mozart’s Cherubino, 1903/04,
oil on canvas, 156.7 × 117.9 cm, Reims, Musée des Beaux-Arts,
Inv.-Nr. 907.19.22
Exhibition
Martin von Wagner Museum, Gemäldegalerie, Würzburg
May 15th, to July 11th 2021
9
100 years of the Mozart Festival –
100 years of the Deutscher Kunstverlag
Thematic diversity of the reception of Mozart:
from portraits to stage sets
Works by Raoul Dufy, Valie Export,
Alfred Hrdlicka, Paul Klee, Oskar Kokoschka
und Gerhard Richter et al.
Paul Klee, Singer of the Comic Opera,
1925, lithograph, with watercolor additions on
paper, 60.7 × 46.0 cm, Museum Ulm, Inv.-Nr.
1954.2153
Mozart’s music and he as an individual poser in the long term, from stage Contributions by Damian
continue to fascinate visual artists sets for The Magic Flute to abstract Dombrowski, Carolin Goll, Andrea
today. On the occasion of the 100-year painting. Gottdang, Christoph Großpietsch,
anniversary of the Mozart Festival The exhibition focuses on the creative Ulrich Konrad, Werner Telesko,
in Würzburg, an exhibition at the energies that Mozart’s work has Denise Wendel-Poray
Martin von Wagner Museum takes a released and the change in the pres-
look at this long history of his impact. entation of popular opera scenes and
In addition to original documents and figures since the early 19th century, to
objects relating to Mozart, circa sixty reflecting on principles of composition
artworks – by Chagall, Klee, and in the 20th century and the present.
Slevogt among other artists – span an
arc of portraits and monuments that
have defined the image of the com-BIRKHÄUSER
10
Adam Elsheimer, Die Verherrlichung des Kreuzes (central panel of the altar of the Cross), c. 1603-05, oil on copper, 48.6 × 36.2 × 0.1 cm,
Frankfurt am Main, Städel Museum, Inv. no. 2024Almut Pollmer-Schmidt
Deutsche Gemälde
im Städel Museum
1550–1725
Pages 768 (two volumes)
Ills. 600 color
Format 30.0 × 21.5 cm
HC 978-3-422-98516-2 € 69.00
$ 79.99
£ 62.50
GERMAN
DEUTSCHER KUNSTVERLAG
MAY 2021
Connection between painting technology and
the history of art and culture
Interdisciplinary examination of core
holdings of the Städel Museum with
established analytical techniques and the
most recent method of macroscopic x-ray
fluorescence scans
11
The collection catalogue is dedicated f ascinating insights into the history Franz Lippold, Johann Ulrich Mayr,
to a hitherto barely explored part of of the collection, exhibitions, and Felix Meyer, Johann Heinrich Roos,
the holdings of the Städel Museum. research, and opens up a panorama Johann Melchior Roos, Philipp
All the works have been examined in of multi-layered art production in Peter Roos, Theodor Roos, Johann
detail from the perspective of both early modern Germany. Rottenhammer, Johann Friedrich
art history and painting technology Trescher, Philipp Uffenbach
based on the most recent scientific Artists:
methods. The incorporation of the re- Hans Bock d. Ä., David Le Clerc, With painting-technological
spective cultural-historical background Lucas Cranach d. J., Adam E lsheimer, analyses by Christiane Weber and
gives rise to new insights regarding Johann Franciscus Ermels, Georg contributions by Fabian Wolf
the creation, attribution, identifica- Flegel, Geldorp Gortzius, Johann
tion, or interpretation of the individual Valentin Grambs, Samuel Hofmann,
paintings. The overview provides Paulus J
uvenel, Johann König,
Georg Flegel, Stillleben mit Hechtkopf, Infra-red image X-ray fluorescence scan (MA-XRF)
c. 1600-10, oil on oak, 31.0 × 40.2 × 0.5 cm,
Frankfurt am Main, Städel Museum,
Inv. no. 1816DEUTSCHER KUNSTVERLAG
Giambattista Tiepolo, Rinaldo in Armida’s Magic Garden, approx. 1750–53, oil on canvas, 39 × 62 cm, Berlin, Gemäldegalerie SMPK, inv. no. 459 D
12
Giambattista Tiepolo, Mucius Scaevola Before Porsenna, approx. 1750–53 (restorted by Atelier Pracher, Würzburg, in 2020), oil on canvas,
103.2 × 121.7 cm, Würzburg, Martin von Wagner Museum der Universität Würzburg, inv. F 82Damian Dombrowski, Martin von Wagner
Museum der Universität Würzburg,
in collaboration with Aylin Uluçam (Eds.)
»Der Arbeit die
Schönheit geben«
Tiepolo und seine Werkstatt in Würzburg
Pages 312
Ills. 290 color
Format 28.0 × 21.0 cm
SC 978-3-422-98598-8 € 39.90
$ 45.99
£ 36.50
DEUTSCHER KUNSTVERLAG
GERMAN
ALREADY PUBLISHED
A homage from Würzburg to the creator of
the Residence frescoes
Drawings and paintings from the holdings
of the Martin von Wagner Museum and
international loans
Tiepolo’s workshop in Würzburg—awakened
to new life
Exhibition
Martin von Wagner Museum, Gemäldegalerie, Würzburg
October 31st, 2020 to January 31st, 2021 13
Giambattista Tiepolo (1696–1770) in Würzburg: sketched notes by his Essays by Damian Dombrowski,
created his world-renowned frescoes son, Giandomenico, and traced cop- Verena Friedrich, Claudia Lichte,
in the Würzburg Residence between ies by his most important employee, Alexander Linke, Aylin Uluçam
1750 and 1753. On the occasion of the Georg Anton Urlaub. and Ulrike Weikart
250th anniversary of his death, the The works presented come primarily
Martin von Wagner Museum, which is from the holdings of the university
housed in the Residence, is presenting museum, and are supplemented by
drawings, etchings, and paintings by international loans.
Tiepolo, including numerous works
from his immediate sphere of activity
on the left:
Giandomenico Tiepolo, Personification of
Painting, 1752, red chalk on greenish-blue
paper, 30.2 × 41.3 cm, Würzburg,
Martin von Wagner Museum der Universität
Würzburg, inv. Hz 7910v
on the right:
Georg Anton Urlaub (after Giambattista or
Giandomenico Tiepolo), Head of a Young
Man Looking Upwards to the Left, 1752/53,
red chalk, heightened with white, on light
blue paper, 32.6 × 19.9 cm, Würzburg,
Martin von Wagner Museum der Universität
Würzburg, inv. Hz 9893r (from the album of
drawings WS 132, fol. 26)KUNSTVERLAG
BIRKHÄUSER
DEUTSCHER
14
Französin, 1912, oil on paper on cardboard, 59.3 × 49.7 cm, Kunstsammlungen Chemnitz – Museum Gunzenhauser,
property of the Gunzenhauser FoundationVolker Adolphs (Ed.)
Alexej von Jawlensky
Gesicht – Landschaft – Stillleben
Pages 144
Ills. 120 color
Format 31.0 × 24.0 cm
HC 978-3-422-98526-1 € 34.00
$ 39.99
£ 31.00
GERMAN
ALREADY PUBLISHED
DEUTSCHER KUNSTVERLAG
Fascinating and intensive in color: the
most important artistic topics of Alexej
Jawlensky—a painter with an unmistakable,
expressive style—discussed in depth and
presented with a wealth of images
Exhibition
Kunstmuseum Bonn
November 5th, 2020 to February 21st, 2021 15
As a central artist of early modernism, tinues to give important inspirations Essays by Volker Adolphs,
Alexej von Jawlensky (born in Torshok, to painting until today with respect to Stephan Berg, Anna Niehoff,
Russia, in 1864, died in Wiesbaden color, the serial, and the spiritual. The Roman Zieglgänsberger
in 1941) considerably expanded the exhibition and catalogue present an
possibilities of painting. Based on exemplary selection of some seventy
an expressive, colorful appropriation paintings and drawings and trace the
of the world, by reducing form and development of the three big topics
intensifying color, he made his pic- of “face, landscape, and still life” to
tures an expression of an immaterial which Jawlensky dedicated himself in
and spiritual truth. Despite the great his work.
individuality of his path, his work con-
Murnau – Das Tal, ca. 1910, oil on cardboard, Stillleben mit schwarzer Vase, 1909, oil on
33.0 × 42.7 cm, private collection, Düsseldorf cardboard, 52.6 × 39.5 cm, Museum Wiesbaden,
permanent loan of the Verein zur Förderung
der bildenden Kunst in Wiesbaden e. V.DEUTSCHER KUNSTVERLAG
16
Skeleton Painter, inv.no. 3112Inge Herold, Johan Holten (Eds.)
James Ensor
Pages 208
Ills. 260 color
Format 27.0 × 22.5 cm
HC 978-3-422-98635-0 € 32.00
$ 36.99
£ 29.00
ENGLISH/GERMAN
MARCH 2021
DEUTSCHER KUNSTVERLAG
La Mort et les Masques / Der Tod und die Masken, 1897, oil on canvas,
78.5 × 100 cm
Overview of the artist’s oeuvre as a whole
Focus on the mask motif as an object and
symbol that plays with identity and staging
Informative texts about the oeuvre, a new
look at its reception in Germany
Exhibition
Kunsthalle Mannheim
5th of March to4th of July 2021 17
The Belgian painter and graphic artist focuses on the fate of one picture, set of motifs of “self-portrait—mask—
James Ensor (1860–1949) has a special Masks and Death of 1897, which was death—still life,” and show how closely
place in the history of the art of the once part of the collection, was seized interwoven these topics are in Ensor’s
twentieth century. Categorized as a by the National Socialists in 1937 oeuvre.
“painter of masks,” he styled himself and is found today at the Musee des
as an individualist and outsider, but Beaux-Arts in Liège. Grouped around Essays by Inge Herold, Mathias Listl,
was also a harbinger and generator this work and the picture Still Life Sabine Taevernier, Herwig Todts,
of impulses for future generations. with Rooster, which was acquired as Xavier Tricot
The publication accompanying the a replacement in the 1950s, are nu-
exhibition at the Kunsthalle Mannheim merous other works dealing with the
Le coq mort / Der tote Hahn, 1894 The Intrigue, inv.no. 1856
oil on canvas, 80 × 100 cm, Kunsthalle MannheimBundesministerium des Innern,
für Bau und Heimat (BMI),
Bundesamt für Bauwesen und
Raumordnung (BBR) (Eds.)
Kunst am Bau in der DDR
Gesellschaftlicher Auftrag – Politische Funktion –
Stadtgestalterische Aufgabe
Pages 132
Ills. 100 color
Format 29.7 × 23.0 cm
HC 978-3-422-98606-0 € 32.00
$ 36.99
DEUTSCHER KUNSTVERLAG
£ 29.00
GERMAN
ALREADY PUBLISHED
Published on the occasion of the anniversary
“seventy years of building-related art in
Germany”—thirty years after reunification
Documents the first scholarly symposium
on building-related art in the German
Democratic Republic at the Akademie der
Künste in Berlin on January 24, 2020
18
Building-related art commissioned by people identify numerous artworks Concept by Ute Chibidziura,
the state brings politics, society, archi- with their home. The publication doc- Constanze von Marlin
tecture, and urban design together in uments the symposium “Building-re-
a unique way. In the GDR, it was initial- lated Art in the GDR” on the occasion Essays by Anne Katrin Bohle,
ly given the function of propagating of the anniversary “70 years of build- Wulf Herzogenrath, Petra Wesseler,
political contents and idealized images ing-related art in Germany” in 2020. Thomas Flierl, Roman Hillmann,
of society. Artists increasingly eman- Renowned experts examine build- Paul Kaiser, Silke Wagler,
cipated themselves from government ing-related art in the GDR from the Ulrike Wendland, Ute Chibidziura
guidelines and developed their own perspective of aesthetics and contents
forms of expression in interplay with and discuss this internationally unique
their surroundings. Until today, many stock of artworks in detail.
in der frühen DDR manches monumentale Architekt öffnete den Denk- und Gestaltungs- das erhaltene Portal des Berliner Schlosses
Marx-Engels- und Ernst-Thälmann-Denkmal raum, indem er sich als Künstler begriff und als Haupteingang integriert werden, von dem
schon zu dieser Zeit entworfen wurde, hatte betätigte. Dem lange geforderten Partei- und Karl Liebknecht in der Novemberrevolution
sich doch bald eine Distanz der DDR-Künst- Regierungshochhaus als Höhendominante 1918 die sozialistische Republik verkündet
ler*innen zur sowjetischen Monumentalkunst sollten nicht wie bis dahin gedacht, Marx-En- hatte. Auch der Neptun-Brunnen vom früheren
gezeigt. Exemplarisch seien dafür die beiden gels-Personen-Denkmäler als Tempelwächter Schlossplatz war hier berücksichtigt. Bekannt-
1953/1954 entstandenen Standbilder „Weg am Haupteingang zugeordnet werden, son- lich wurde später alles anders realisiert, aber
mit den Trümmern“ von Fritz Cremer ge- dern ein technoides Denkmal sollte als Groß- die Ursprungsintention ist noch erkennbar.
nannt, die seit 1958 vor dem Berliner Rathaus skulptur die Funktion der Höhendominante Der Fernsehturm, 1969, nicht mehr als Denk-
stehen (Abb. 8, 9). übernehmen. Henselmann schlug am Ost- mal, sondern als Sendeturm und Stadtzeichen
rand des Marx-Engels-Platzes einen „Turm sui generis hatte die Funktion der Höhendo-
Abb. 8, 9
Fritz Cremer, „Aufbau- der Signale“ vor – einen aufsteigenden, rubin- minante übernommen, wurde aber Richtung
ANKUNFT IM ALLTAG DER MODERNE: helfer I und II“ („Weg- rot leuchtenden Sputnik über einer Original- Bahnhof Alexanderplatz gerückt. Das Parteiin-
LEBENSWEISE UND GESTALTUNG mit den Trümmern“),
1953/1954, Rotes Rat-
ausgabe des Kommunistischen Manifests im stitut mit dem Schlossportal wurde 1964 zum
haus, Berlin Sockel des vorgelagerten Gebäudes, das auch Gebäude des 1960 neu geschaffenen Staats-
Mit den neuen Bauaufgaben und vor dem Hin- als Tribüne dienen sollte. Revolutionäre Idee rates. Das zentrale Gebäude und das Marx-
tergrund eines gewandelten Kunstverständnis- und wissenschaftlich-technischer Fortschritt Engels-Denkmal tauschten die Plätze, das
ses seit Mitte/Ende der 1950er Jahre gestaltete sollten die traditionsfixierte Ideologie und die eine wurde als horizontaler Funktionsbau, als
sich auch das Verhältnis von Architektur und bürokratischen Machtstrukturen dominieren! Palast der Republik, 1976, auf der Spreeinsel
Kunst in der DDR neu. Nach der Abkehr von Die Administration dagegen sollte horizontal errichtet, während das Denkmal erst 1986 als
der Baupolitik der nationalen Traditionen im jenseits der Spree angeordnet werden, bei be- mehrteiliges Ensemble als Pendant zum Fern-
Zuge der Industrialisierung des Bauwesens herrschender Funktion des Parlaments- und sehturm im großen Stadtinnenraum jenseits
seit 1955, des Übergangs vom Bau einzelner Kongressgebäudes. (Die Bezüge zu Le Cor- der Spree Aufstellung fand (Abb. 35).
sozialistischer Straßen und zentraler Plätze busiers Entwurf für den Sowjetpalast in Mos- Das Bildprogramm im noch Anfang der
in Ostberlin und einigen weiteren Städten kau 1932 sind unverkennbar.) In die Fassade 1960er Jahre realisierten Staatsratsgebäude
zum Bau neuer sozialistischer Industriestädte des am Marx-Engels-Platz geplanten Partei- zeigt die Doppelgestalt jener Jahre: das naive,
(Eisenhüttenstadt, Hoyerswerda, Schwedt, instituts, als der Hüterin der Tradition, sollte durchaus an Lingner orientierte Bildprogramm
Halle-Neustadt) und schließlich mit der Mo- von Walter Womacka im Treppenhaus mit dem
dernisierung und sozialistischen Umgestaltung Motiv der (Heiligen) werktätigen Familie stand
der Zentren in den wichtigsten Bezirksstädten dem technoiden Bildzeichen Fritz Kühns im
Abb. 10
in den 1960er und 1970er Jahren entstand für Hermann Henselmann, Beratungsraum des Staatsrates gegenüber
die architekturbezogene Kunst in der DDR ein Wettbewerbsentwurf (Abb. 11, 47).
für das Zentrum Ostber-
weites Aufgabenfeld. Architektur, Städtebau lins, 1959
Die Emanzipation der bildenden Kunst
und bildende Kunst traten als Berufsfelder und vom Bau zeigte sich auch in den theoretischen
arbeitsteilig-spannungsvoll auseinander und Debatten, dem Sprachgebrauch und den in-
forderten auf neue Weise Integration. Als Bei- stitutionellen Kopplungen von Architektur
spiel für die neue Elastizität in deren Verhält- und bildender Kunst als unterscheidbaren
nis kann die Idee Hermann Henselmanns für Abb. 11
und dennoch notwendig zusammenwirken-
das Zentrum Ostberlins aus dem Jahre 1959 Walter Womacka, „Aus den Arbeitsfeldern. So entwickelte sich der
gelten (Abb. 10). In diesem Entwurf wurde der Geschichte der deut- Sprachgebrauch immer mehr von der tradi-
schen Arbeiterbewegung“,
das Verhältnis von Architektur, Städtebau 1964, Staatsratsgebäude, tionellen „angewandten“ oder „baugebun-
und bildender Kunst neu ausbalanciert. Der Berlin denen“ Kunst bzw. von „Kunst am Bau“ zu
18 Kunst am Bau in der DDR 19Bundesministerium des Innern,
für Bau und Heimat (BMI),
Bundesamt für Bauwesen und
Raumordnung (BBR) (Eds.)
70 Years of Art in
Architecture in Germany
Pages 316
Ills. 200 color
Format 29.7 × 23.0 cm
HC 978-3-422-98623-7 EN € 45.00
978-3-422-98617-6 DE $ 51.99
£ 41.00
DEUTSCHER KUNSTVERLAG
ENGLISH AND GERMAN EDITION
DECEMBER 2020
Building-related art in the Federal Republic of
Germany, the German Democratic Republic,
and the unified Germany over seven decades
Numerous pictures from in part little known
or inaccessible works
Documentation of a traveling exhibition
presented at nine locations in Germany
Exhibition
Staatsbibliothek zu Berlin
November 28th, 2020 to January 6th, 2021 19
In 1950, the obligatory participation of and potentials of building-related art national visiting card that adds value
visual artists in state building meas- for state authorities and institutions, to architecture.
ures at home and abroad was decreed research institutes, military facilities,
in the German Bundestag as well as and German representation around Edited by Ute Chibidziura,
in the parliament of the GDR. Over a the world. It discusses its specific Constanze von Marlin
En
period of 70 years, numerous artworks aspects, like the creation of the works,
that reflect the politics, society, and as well as their maintenance and pres-
architecture as well as the tasks of ervation, and elucidates how close
institutions have been created. The building-related art can be to day-to-
book sheds light on the significance day life—as inspiration, statement, and
Ger
Rupprecht Geiger, untitled, 1953, Munich Central Station Katharina Grosse, untitled, 2015, German Bundestag/
Marie-Elisabeth-Lüders-Haus IICollection Catalogues by
the Deutscher Kunstverlag –
A Success Story!
Achim Riether, Staatl. Graphische Staatliche Kunstsammlungen
Sammlung München (Eds.) Dresden (Ed.)
Einblattholzschnitte des Gemäldegalerie Alte Meister
15. Jahrhunderts in Dresden
German Deutsch/English/Italian
2019. 560 pages 2017. 104 pages
29 × 23 cm 27 × 20 cm
Hardcover Softcover
€ 58.00 [D]; $ 66.99; £ 52.50 € 9,80 [D]; $ 11.99; £ 9.00
ISBN 978-3-422-97985-7 ISBN 978-3-422-07100-1
Reuschel-Stiftung (Ed.) Bernhard Maaz
Barocke Skizzenkunst. Pinakothek der Moderne
Die Sammlung Reuschel München – Sammlung Moderne
German Kunst
2018. 312 pages German/English
28 × 22.5 cm 2017. 344 pages
Hardcover 21 × 15 cm
Publishing collection and inventory catalogues is an estab- € 34,90 [D]; $ 40.99; £ 31.50 Softcover with flaps
ISBN 978-3-422-07431-6 € 16,90 [D]; $ 19.99; £ 15.50
lished tradition at the Deutscher Kunstverlag. Alongside the ISBN 978-3-422-07405-7
current and visually stunning new publications in this booklet — Andreas Schumacher, Annette
Kranz und Annette Hojer (Eds.) Christof Trepesch u.v.m. (Eds.)
including the catalogue of German paintings at the Städel Florentiner Malerei. Die Deutsche Barockgalerie
Museum, Frankfurt am Main; two volumes on the sculpture Alte Pinakothek. im Schaezlerpalais
collection at the Neue Pinakothek, Munich; the publication Die Gemälde des 14. bis 16. Meisterwerke der Augsburger
Jahrhunderts Sammlung
How Art Works, with masterpieces from the Gemäldegalerie
German German
and the Bode-Museum, Berlin; as well as an “exquisite” collec- 2017. 744 pages 2016. 416 pages
tion catalogue on 19th century art at the Museum Wiesbaden 28.5 × 23.5 cm 30 × 24 cm
Hardcover Linen with dust jacket
— many other publications on prestigious collections and re- € 78,00 [D]; $ 89.99; £ 71.00 € 58.00 [D]; $ 66.99; £ 52.50
nowned institutions can be found in our program. ISBN 978-3-422-07413-2 ISBN 978-3-422-07337-1Ideal sculpture and portrait sculpture from Antonio
Canova to Pietro Tenerani
First and second volume of the
DEUTSCHER KUNSTVERLAG
three-volume catalog on the collections
of sculpture holdings from the nine-
teenth century at the Neue Pinakothek
Bayerische Staatsgemälde- In addition to his collection of con- the collection have now been assessed
sammlungen (Ed.) temporary painting, Ludwig I, who from a scholarly perspective for the
Die Sammlung established the Neue Pinakothek, also
purchased sculptures by important
first time. The catalog on the collec-
tion of all the sculpture holdings of
Ludwigs I. sculptors like Antonio Canova and the nineteenth century at the Neue
Neue Pinakothek. Bertel Thorvaldsen. They were supple- Pinakothek presents the works in new
Katalog der Skulpturen mented with many busts by sculptors color photographs and sheds light on
– Band I such as Christian Daniel Rauch and the context of their creation.
Friedrich Tieck, which were original-
Pages 320 ly intended for the Walhalla or the Herbert W. Rott,
Ills. numerous colored Ruhmeshalle (Pantheon). The king Bayerische Staatsgemälde
Format 26.5 × 19.0 cm
also had Johann Halbig create por- sammlungen
HC 978-3-422-98431-8 € 50.00 traits of numerous poets and painters
$ 57.99 from whom he had already acquired
£ 45.50 paintings. All of these sculptures from
GERMAN
NOVEMBER 2020
21
Monograph of works by the most important sculptor
in Germany at the beginning of the of the 20th century
Bayerische Staatsgemälde- Adolf von Hildebrand is regarded as estate. Besides completed works, the
sammlungen (Ed.) one of the most important sculptors in estate also includes models for ideal
Adolf von Hildebrand Germany around 1900. He created his
works between the era of the Prince
sculptures, reliefs, portraits, fountains,
monuments, and tombs. In the cata-
Neue Pinakothek. Regent in Munich and the enthusiasm log, the works by Fabian Pius Huber
Katalog der Skulpturen for Italy of German Romans. He liber- are documented in detail for the first
– Band II ated the sculpture of the nineteenth time and put in relation to the artist’s
century from superfluous decoration oeuvre and his era.
Pages 224
Ills. numerous colored and thus became a pioneer of modern
Format 26.5 × 19.0 cm sculpture in Germany. Works by the Edited by Fabian Pius Huber,
artist were already acquired for the with contributions by Bernhard Maaz,
HC 978-3-422-98432-5 € 45.00
collection at an early point in time and Franziska Kolba and Joachim Kaak
$ 51.99
£ 41.00 were able to grow to become unique
holdings of over 200 works as a result
GERMAN of the acquisition of his workshop
NOVEMBER 2020María López-Fanjul y Díez del Corral,
Christine Seidel (Eds.)
How Art Works
Pages 160
Ills. 145 color
Format 28.0 × 22.0 cm
SC 978-3-422-98303-8 EN € 32.00
978-3-422-98297-0 GER $ 36.99
£ 29.00
ENGLISH AND GERMAN EDITION
JULY 2021
DEUTSCHER KUNSTVERLAG
Masterpieces from the Gemäldegalerie and
the Bode Museum—ca. 50 highlights
Pedro Roldán, Mater Dolorosa, 1670/1675, Poplar wood, polychromed, glass,
33.0 × 28.5 × 18.3 cm, Ident.-Nr. 353, Skulpturensammlung und Museum für
Byzantinische Kunst, Staatliche Museen zu Berlin
22
Art develops its effect through con- and presentation of masterpieces from
templation. Even before we interpret the Gemäldegalerie and Bode Museum
it, we grasp it by means of inspired focuses on beyond the boundaries
seeing, by “feeling our way,” thus of art forms. The sensual experience
giving rise to an opinion. It precedes of art via forms, surfaces, materiality,
En
an interpretation of the content—and movement, and their significance is
the interplay of form and content curated for readers based on some fif-
becomes the experience of art. Unlike ty selected works over various epochs
classic guidebooks, this publication is and clearly communicated in numer-
dedicated to the aesthetic experience, ous close-up photographs.
which the comparative contemplation
Ger
Peter Paul Rubens, Das Kind mit Frans Hals, „Malle Babbe“, Gian Lorenzo Bernini, Group of fountains with tritons and dolphins
dem Vogel, oak wood, 50.9 × 41.0 cm, 1633–1635, canvas, 78.5 × 66.2 cm, created for the Piazza Navona in Rome, burned and gold-plated clay,
Ident.-Nr. 763, Gemäldegalerie, Ident.-Nr. 801C, Gemäldegalerie, 36.6 × 29 × 19.5 cm, Ident.-Nr. 1795, Skulpturensammlung und Museum
Staatliche Museen zu Berlin Staatliche Museen zu Berlin für Byzantinische Kunst, Staatliche Museen zu BerlinPeter Forster (Ed.)
Exquisit
Kunst des 19. Jahrhunderts:
Schenkung Jan und Friederike Baechle
Pages 144
Ills. 140 color
Format 29.0 × 25.0 cm
HC 978-3-422-98626-8 € 40.00
$ 46.99
£ 36.50
GERMAN
DECEMBER 2020
DEUTSCHER KUNSTVERLAG
Exhibition
Museum Wiesbaden
November 20th, 2020 to March 21st, 2021
Hans Thoma, Erinnerung an Orte, 1887, oil on wood,
24.5 × 36.0 cm, Museum Wiesbaden, donation Jan and
Friederike Baechle
23
The Jan and Friederike Baechle Collection:
a wonderful gift of twenty-seven works
from the nineteenth century to the Museum
Wiesbaden, including two important works by
Ernst Wilhelm Nay
Rudolf Gudden, Frau in andalusischer Landschaft,
undated [ca 1905], oil on canvas, 47.7 × 49.5 cm, Museum
Wiesbaden, donation Jan and Friederike Baechle
Jan and Friederike Baechle describe the Museum Wiesbaden represent an Eugen Spiro, Hans Thoma, W ilhelm
their collection with the words “small ideal addition to the existing holdings Trübner, and Ernst Wilhelm Nay.
but excellent.” They thus describe the and a further stroke of luck within the
core aspect of the collection that they context of a planned “gallery of the Essays by Manfred Großkinsky,
have carefully developed over dec- 19th century.” The opulently illustrated Irene Haberland, Nikolas Werner
ades. The “long 19th century” with all book juxtaposes the works from the Jacobs, Franz Josef Hamm,
its various facets was central to their Baechle donation to a selection of Norbert Suhr, Peter Forster
interest as collectors. The list of the works from themuseums collection, and others
artists who produced the thirty works including works by Eugen Bracht,
includes significant positions in the Ferdinand Brütt, K arl Hofer, Max
art of the 19th century, and as a gift to Liebermann, Alfred N. Oppenheim,Vivid presentation of the history of selected pictures
from the Wallraf-Richartz Museum in Cologne
DEUTSCHER KUNSTVERLAG
Rainer Pabst Pictures often tell stories. But pictures painting because it was not wanted
Wie die Bilder ins also have a story themselves when
they have passed through many hands
as a gift; and a courageous museum
director made his acquisitions of art
Museum kamen on their way into a museum. despite great resistance.
Biografien von Kunstwerken aus dem The author, who supports his views In this book for all museum visitors
Wallraf-Richartz-Museum in Köln with the results of relevant provenance and readers who would like to learn
research, goes on a search for traces more about the exhibits, the stories
Pages 216 of these descriptions of the lives behind the pictures come to life.
Ills. 93 b/w, 6 color
Format 21.5 × 13.5 cm
of artworks from the Wallraf-Richartz
Museum in Cologne: the city of Co- Rainer Pabst,
SC 978-3-422-98438-7 € 19.00 logne thus had to litigate against the Work Group of the Wallraf-Richartz
$ 21.99 daughter of Hermann Göring for nine- Museum and the Museum Ludwig in
£ 17.50
teen years in connection with a paint- Cologne
GERMAN ing by Cranach; a high price had to
APRIL 2021 be paid for the acquisition of a nother
24
Detailed presentation of the discourses surrounding
the relevance of media for art history
From interdisciplinary perspectives of archeology,
art history, and media studies
Hubert Locher, Maria Männig (Eds.) Researching and teaching art histo- Essays by Matthias Bruhn, Philipp
Lehrmedien der ry is very closely intermeshed with
the history of media. Digitization has
Goldbach, Erkki Huhtamo, Joseph
Imorde, Rossella Monaco, Hubert
Kunstgeschichte thus given rise to new perspectives. Locher, Maria Männig, Susanne
Geschichte und Perspektiven Against this backdrop, the book takes Müller-Bechtel, Robert S. Nelson et al.
kunsthistorischer Medienpraxis a differentiated look at the range
of media for teaching art history by
Transformationen des Visuellen 5 interrogating the premises and the
Pages 488
Ills. 95 b/w, 95 color
boundaries media practice in con-
Format 24.0 × 17.0 cm nection with art history. Case studies
are dedicated to the different media
SC 978-3-422-98508-7 € 49.90 and how they are used for producing
E-Book 978-3-422-98625-1 $ 57.99
£ 45.50
knowledge within art history.
ENGLISH/GERMAN
JULY 2021Martje Esser
Werner Schmalenbach
und die Stiftung
Kunstsammlung
Nordrhein-Westfalen
Eine Staatsgalerie im Aufbau
Pages 312
Ills. 80 b/w, 20 color
Format 24.0 × 17.0 cm
HC 978-3-422-98567-4 € 42.00
$ 48.99
DEUTSCHER KUNSTVERLAG
£ 38.00
GERMAN
MARCH 2021
A fascinating and informative reader for all
individuals interested in art
First examination of the establishment
and development of the Kunstsammlung
Nordrhein-Westfalen from the perspective
of art history
First biographical portrayal of Werner
Schmalenbach
25
The Kunstsammlung Nordrhein- state, and becoming reintegrated in his role as a trailblazer for modern art
Westfalen is regarded as one of the the international alliance of nations. in the young Federal Republic.
most important German collections The author examines the development
of modern and contemporary art. of the collection until it was finally Martje Esser,
Since it was established in 1961, the consolidated at the end of the 1960s. art historian and curator Düsseldorf
history of its development is situated She takes a look at the life and im-
in the middle of the economic mira- pact of the founding director Werner
cle and thus in the interplay between Schmalenbach—his childhood and
cultural renewal and restoration, rep- early adulthood in Switzerland, his
resenting a new understanding of the encounter with “degenerate art,” and
Werner Schmalenbach and Will
Grohmann in Jägerhof Castle,
with paintings by Ernst Ludwig
Kirchner, Emil Nolde and Jackson
Pollock, Kunstsammlung Nord-
rhein-Westfalen, 1965 (unknown
photographer)Purrmann
Vollmoeller
An Artistic Marriage
in Letters
Out now!
Felix Billeter and Maria Leitmeyer (Eds.)
Stürmische Zeiten –
Eine Künstlerehe in Briefen 1915–1943
Hans Purrmann und
Mathilde Vollmoeller-Purrmann
German
256 pages
50 color illustrations
21,0 × 13,5 cm
Softcover € 18,00 [D]; $ 20.99; £ 16.50
ISBN 978-3-422-98242-0
NOW
as a set
Available again!
Felix Billeter and Maria Leitmeyer (Eds.)
Sehnsucht nach dem Anderen –
Eine Künstlerehe in Briefen 1909–1914
Hans Purrmann und
Mathilde Vollmoeller-Purrmann
German
184 pages
50 color illustrations
21,0 × 13,5 cm
Softcover € 14,90 [D]; $ 17.99; £ 13.50
ISBN 978-3-422-89286-6
Set € 29,00 [D]; $ 33.99; £ 26.50
ISBN 978-3-422-98557-5Up-to-date topic as a supplement to the anniversary
of the Bauhaus
New looks at the architecture of the interwar period
DEUTSCHER KUNSTVERLAG
Klaus Tragbar (Ed.) The architecture of the interwar an external perspective, the conflicts
The Multiple Modernity period is still often described solely
with terms such as classical mod
between the representatives of radical
and moderate modernism, the writing
Innsbrucker Beiträge zur Baugeschichte 2 ernism, Neues Bauen, or the Interna- of the history of architecture in the
Pages 432 tional Style. But, for some time, there 20th century, and the role of national
Ills. 206 color have also been calls to expand the and regional modernism in the devel-
Format 24.5 × 17.4 cm
perspective and to consider modern- opment of national identities after the
SC 978-3-422-98609-1 € 49.90 ism in a more differentiated way. First World War.
$ 57.99 The 100-year anniversary of the
£ 45.50 Bauhaus provides an occasion to take Klaus Tragbar,
a critical look at the architecture of university professor of architecture,
ENGLISH/GERMAN
JUNE 2021 modernism and to discuss the con- architectural history, and historical
cept of multiple modernisms. The preservation, University of Innsbruck
texts describe the Bauhaus between
self-presentation and perception from
27
First German monograph on Serov to position
the artist within an overall European context
Tanja Malycheva The works of Valentin Serov (1865– an, Kuznetsov, Mashkov, Larionov, and
Valentin Serov 1911) mark the beginning of modern
Russian painting. He presented them
Tatlin. The author goes on a journey
through Serov’s life as an artist in
Bildfindungsprozesse des russischen at the Secessions in Munich, Berlin, diverse cities, movements in painting,
Künstlers im gesamteuropäischen Kontext and Vienna, and at the World Fair and collections, aesthetic theories, and
Pages 436 Salon d’Automne in Paris as well as theater stages, and makes the artist’s
Ills. 83 b/w, 17 color at the Venice Biennial and the Inter- processes for creating pictures come
Format 24.0 × 17.0 cm national Exhibition in Rome. He was alive.
involved in the progressive maga-
SC 978-3-422-98417-2 € 49.95
E-Book 978-3-422-98659-6 $ 57.99 zine Mir iskusstva and later enjoyed Tanja Malycheva,
£ 45.50 success as a stage designer for the art historian, Bremen
Ballets Russes, along with its founder,
GERMAN Diaghilev.
ALREADY PUBLISHED
At the art academy in Moscow, he
taught Petrov-Vodkin, Sapunov, Sary-Felice Fey
Verschwiegene Kunst
Internationale Moderne in der DDR
Pages 368
Ills. 60 b/w, 70 color
Format 26.0 × 19.5 cm
HC 978-3-422-98433-2 € 48.00
$ 55.99
£ 43.50
GERMAN
DECEMBER 2020
DEUTSCHER KUNSTVERLAG
Historical consideration of the biography and
work of independent, international visual
artists in the GDR, including Carlfriedrich
Claus, Gerhard Altenbourg, A. R. Penck,
Robert Rehfeldt and Ruth Wolf-Rehfeldt
The focus is on the artistic conflicts with the
state power from the establishment of the
GDR in 1949 until 1989
28
In the German Democratic Republic others in Berlin (West) in the 1950s. to the task of party doctrine shortly
(GDR), the art of the ruling party was Some were recognized internationally, before the fall of the Berlin Wall.
seen as a weapon in the class struggle. and many emigrated.
The program of “socialist realism” was In the ongoing debates surrounding Felice Fey,
institutionally anchored and adher- art in the GDR, what is also reflected Research Association on the SED
ence to it monitored. But the art was is the shifting relationship between State, Freie Universität, Berlin
older than the state, and there were the state party and the international
artists who insisted on the indepen West. It ranged from a demonizing of
dence of their work. Some of them modernity to a socialist interpretation
had been trained prior to 1933, and and reluctant broadening of the canon
Will be published in Spring 2021
Anna-Carola Krausse
Andere Horizonte.
Ostdeutsche Nachkriegs-
moderne im Schatten des
Sozialistischen Realismus
Pages 320
Ills. 300 color
Format 28.0 × 24.0 cm
HC 978-3-422-07483-5
€ 34,00
$ 40.99
£ 31.50
GERMAN
Ernst Schroeder, Dorfstraße, 1958, watercolor and Indian ink,
14.8 × 20.9 cm, private collection, BerlinDavor Konjikušić
Rotes Licht
Jugoslawische Partisanenfotografie. Bilder einer
sozialen Bewegung, 1941–1945
Pages 384
Ills. 570 b/w, 8 color
Format 26.0 × 19.5 cm
HC 978-3-422-98510-0 € 42.00
$ 48.99
£ 38.00
E-Book 978-3-422-98639-8 Open Access
GERMAN
DEUTSCHER KUNSTVERLAG
FEBRUARY 2021
English edition planned
Croatia’s biggest daily newspaper assesses
the book as one of the 100 most important
publications of the year 2019
Over 400 in part unpublished photographs
29
Davor Konjikušić provides an in-depth With the help of the photographs, Davor Konjikušić,
presentation and contextualization of he traces the development of a move- journalist and photographer,
the photographs created by Yugoslav ment that—seemingly doomed to Zagreb/Croatia, translated into
partisans between 1941 and 1945. certain failure—nevertheless survived German by Zoran Velikić
In doing so, the author is not only the most destructive war in human
interested in presenting the photo- history.
graphs from an aesthetic perspective, This book provides new answers to
but in the history of their use and the question of the role of the medium
function within one of the biggest of photography and its significance
anti-fascist movements in Europe and use in social movements.
during the Second World War.
Anonymous, Female partisan in Supetar, 1943 Anonymous, Radio telegrapher of the Anonymous, In the camp of the First Com-
school of military intelligence, main staff of pany of the first bataillon of the northern
Croatia, Lika, winter 1943, Croation History Adriatic unit near Dobro (plateau Šentviška),
Museum, Zagreb/Croatia 3 April 1943, National Museum of Contem-
porary History, Ljubljana/SloveniaKommunale Galerie Berlin Kulturamt
Charlottenburg-Wilmersdorf,
Gesellschaft für Deutsch-
Chinesischen kulturellen Austausch e.V.
(GeKA e.V.) (Eds.)
Detlef Waschkau
..New..北..Ber..大阪.. – The Cities in Me
Pages 160
Ills. numerous colored
Format 31.0 × 24.0 cm
HC 978-3-422-98547-6 € 36.00
$ 41.99
DEUTSCHER KUNSTVERLAG
£ 32.50
ENGLISH/GERMAN
ALREADY PUBLISHED
New York, Beijing, Berlin—urban worlds of
pictures between figuration and abstraction
The unusual technique of wood reliefs,
in which a hybrid of painting and sculpture
is created
Exhibition
Kommunale Galerie Berlin
30 November 2020 to January 2021
The sensual and simultaneously con- The artistic home of the Berlin- the everyday confrontation of people
ceptual visual creations of the Ber- based artists is life in metropolises, and city.
lin-based painter and sculptor Detlef the never-resting organism of big
Waschkau generate space and inter- cities, seas of buildings, urban Essays by Hannelore Paflik-Huber,
space between mediums and materi- canyons, asphalt, and big city jungle. Dorothée Bauerle-Willert
als. He juggles with contradictions, For Detlef Waschkau, the city is a
the hardness of wood, the delicacy grand stage. In the exhibition publi-
of painting, figuration and abstraction, cation, New York, Beijing, and Berlin
harmony and dissonance, thereflectivi- come together—dense street chaos,
ty of light, and space and color. everything colliding: a picture of
Urban Landscape, New York, 2020, 90 × 197 × 1 cm, Pigment on wood Elbphilharmonie Hamburg, 2019,
145 × 97,5 × 1 cm, Pigment on woodJohannes Beyerle
Zeichenroman
Und in der Ferne Schnee
Pages 192
Ills. 95 color
Format 27.5 × 21.0 cm
HC 978-3-422-98430-1 € 39.95
$ 45.99
£ 36.50
GERMAN
APRIL 2021
DEUTSCHER KUNSTVERLAG
A book project that spans the border between
art and literature, drawing and writing
The author skirts the border between visual
arts and literature
31
Is there—comparable to perfect pitch and writing. A series of pencil draw- an alert eye, a pencil and a blank sheet
in hearing—such a thing as the perfect ings forms the basis; sparse landscape of paper.
gaze? Does there exist a sense of line fragments, delicate portraits, and
and form that has been refined to the roughly hewn figures are interwoven Johannes Beyerle,
highest degree? Using only pencil with handwritten notes. This inter- lives in Kandern. Exhibitions in
and paper, Johannes Beyerle turns penetration of drawing and writing Hamburg, Bremen and abroad,
his gaze to a world of images, tracing manifests a unique kind of artistic Berlin, Nuremberg; Markgräfler Art
remembered, imagined and directly forensics. The project has become Prize
experienced scenes. Two forms of a “novel of signs”: Beyerle reveals a
expression are intertwined: drawing world in which nothing is required butFailure is
What It’s All About
Out
now!
Jörn Jacob Rohwer
Steven D. Lavine.
Failure is What It’s All About
A Life Devoted to Leadership in the Arts
English
168 pages
34 color illustrations
22 × 16 cm
Hardcover €33.95 [D]; $39.99; £31.00
ISBN 978-3-422-98155-3
“A very eminent book about a very eminent man.”
Prof. Dr. Peter Weibel, ZKM Karlsruhe
“A gorgeous portray”
Jens Hinrichsen, Monopol
Walt Disney’s vision for an art school located before the gates of
Los Angeles became a reality: Opened 50 years ago, the California
Institute of the Arts had long been in crisis, before Steven D.
Lavine led it to financial prosperity and international acclaim.
Today, CalArts is the cradle of many Academy Award and Pulitzer
Prize winners, of Mellon and Guggenheim Fellows– a hotspot of
American creativity.
In personal conversations with Jörn Jacob Rohwer, Lavine tells
his life story for the first time, talking about cultural politics,
philanthropy, the avant-garde and Los Angeles at the centre of his
life. Spurred on by self-doubts and a desire to learn from failure,
he proves to be a sensitive thinker, visionary and transatlantic
mediator between the worlds of art, politics and education.Jürgen Müller, Lea Hagedorn,
Giuseppe Peterlini, Frank Schmidt (Eds.)
Gegenbilder
Bildparodistische Verfahren in der Frühen Neuzeit
Pages 400
Ills. 125 b/w, 25 color
Format 24.0 × 17.0 cm
SC 978-3-422-98239-0 € 59.00
$ 67.99
£ 53.50
GERMAN
FEBRUARY 2021
DEUTSCHER KUNSTVERLAG
Discussion of the concept of parody from the
perspective of art history
Agonality in the arts
33
Starting in the Renaissance, artists they have hitherto only rarely been a Jürgen Müller, Lea Hagedorn,
were bound to a canon of exemplary focus of research. Giuseppe Peterlini, Frank Schmidt,
motifs and forms, something that This volume addresses this desidera- Collaborative Research Centre 1285
again and again provoked counter- tum. The case studies make a contri- “Invectivity. Constellations and Dy-
reactions. Methods parodying pictures bution to understanding pre-modern namics of disparagement”, Technische
could be used as an intrinsic artistic picture parodies from the perspectives Universität Dresden
critique of authorities and aesthetic of art history, literary studies, and
norms and to articulate claims to visual culture by shedding light on
autonomy and status. Even though their use in discourses on moderniza-
such counter-images were very much tion and in specific conflict situations.
present in the early modern period,
on the left:
Urs Graf, Prostitute exposing
her leg, 1513[23], etching,
140 × 72 mm, Kunstmuseum
Basel, Kupferstichkabinett
on the right:
Marcantonio Raimondi
(after Raffael), The Triumph
of Galatea, 1515/16, engraving,
403 × 286 mm, Amsterdam,
Rijksmuseum, Rijksprenten-
kabinetNew assessment of the stories of Genesis in
the Chiostro Verde (Green Cloister) in the Santa
Maria Novella
Colors (respectively green) regarded as a holistic
experience in the early modern era
DEUTSCHER KUNSTVERLAG
Katharine Stahlbuhk The study’s main focus is a particular The massive dissemination of this form
Oltre il colore group of virtually one-color wall paint-
ings with sacred subjects from the
of monochrome painting can more
over be situated with respect to
Die farbreduzierte Wandmalerei zwischen 14th and 15th century in Italy, whose the history of faith and church pol-
Humilitas und Observanzreformen reduction of color cannot be explained itics thanks to the incorporation of
Italienische Forschungen des by the intention to evoke material. picture cycles that have hitherto been
Kunsthistorischen Institutes in Florenz, Besides early examples executed in neglected or are unknown.
Max-Planck-Institut, 4. Folge, volume 13 shades of ochre, most wall paintings
Pages 416 of this genre are green. Based on Katharine Stahlbuhk,
Ills. 190 b/w, 50 color precise case studies and an extensive Bibliotheca Hertziana – Max Planck
Format 28.0 × 21.0 cm
catalogue, the author sheds light for Institute for Art History in Rome
HC 978-3-422-98194-2 € 78.00 the first time on the content-related
$ 89.99 depth of the phenomenon by provid-
£ 71.00 ing new insights into the semantics of
GERMAN color and material.
APRIL 2021
34
Art-historical reinterpretation of Bernini’s Cappella
Albertoni in Rome
First incorporation of the rhetoric of the 17th century
and Baroque theater before the backdrop of the
Copernican revolution and the Counter Reformation
Gudrun Inboden The author interprets the drapery The mystical therefore becomes
Vorhangfall und of Gianlorenzo Bernini’s Cappella
Albertoni for the first time as a cur-
poetic ecstasy. No biographical nar-
rative is hence provided; it is instead
poetische Ekstase tain—leitmotif in Bernini’s sculptural about a declaration of belief in an art
Gian Lorenzo Berninis Cappella oeuvre—and as an overt figure of that liberates the creative powers of
Paluzzi-Albertoni speech before the backdrop of the the intellect by means of aesthetic
Counter Reformation and of Bruno experience rather than by linking it to
Pages 176 and Galilei’s “open vault of the sky”. perception.
Ills. 1 b/w, 11 color
Format 24.0 × 17.0 cm
The curtain falls so as to be opened,
as on the Baroque stage, and like the Gudrun Inboden,
HC 978-3-422-98316-8 € 29.00 “metaphorical curtain” in theories of art historian, Munich
$ 33.99 poetry of the 17th century, is linked
£ 26.50
with the eventfully induced affect of
GERMAN ecstasy. Metaphors reinterpret the
ALREADY PUBLISHED unambiguous as the ambiguous.New insights into the life of Johann Wolfgang von
Goethe between staging and daily life
Stove design in the era of Goethe and the energy crisis
around 1800
With a detailed catalog of the historical "parlor stoves"
in the Residenzschloss and the writers’ houses of
Weimar
DEUTSCHER KUNSTVERLAG
Jan Mende Goethe found the winter unbearable. Gilly. But how did the stoves at that
Schön behaglich warm The “most horrible months” forced
him into the “attic cave” of his writing
time look and how were they heat-
ed? This question is examined based
Weimarer Öfen der Goethezeit room, while the magnificent rooms of on the example of historical “parlor
Pages 128 his house had to remain unheated. stoves” in Weimar. The appended
Ills. 35 b/w He needed to economize: firewood catalog provides a detailed list of
Format 24.0 × 17.0 cm was expensive since Germany expe- stoves in Weimar for the first time.
rienced its first energy crisis around
SC 978-3-422-97986-4 € 18.00
$ 20.99 1800. For this reason, he was inter- Jan Mende,
£ 16.50 ested not only in modern economical Stadtmuseum Berlin
stoves from Berlin; he even designed
GERMAN
two stoves for rooms himself, for
MARCH 2021
which he was able to ignite the inter-
est of the famous architect Friedrich
35
A new book in the bestselling series
A particularly magnificent genre among archeological
finds
Neck rings—status symbols of prehistoric times
Angelika Abegg-Wigg, Neck rings are among the most mag- the inhabitants near the Baltic Sea
Ronald Heynowski nificent genres among archeological even until into the tenth and eleventh
Halsringe finds. They are made of bronze, silver,
or gold, elaborately produced, and
century.
This book presents, describes, and
Erkennen. Bestimmen. Beschreiben. richly ornamented. In prehistoric portrays the typical individual forms.
Bestimmungsbuch Archäologie 7 times, they were worn by selected It also provides information about the
Pages 176 men, women, and children, represent- dating and distribution of the forms
Ills. 155 b/w, 25 color ed the status and dignity of the wear- as well as additional details.
Format 24.0 × 17.0 cm er, and distinguished the individual
SC 978-3-422-98286-4 € 19.90 within his or her society. Angelika Abegg-Wigg,
$ 22.99 In Central Europe, there are neck rings Archaeological Museum Schloss
£ 18.00 starting from the beginning of the Gottorf Schleswig
Bronze Age around 2200 BCE. They Ronald Heynowski,
GERMAN
FEBRUARY 2021 are found up to the Migration Period Archaeological Heritage Office in
around 500 CE, and in the case of Saxony, DresdenSie können auch lesen
